Seven weeks, July 11 to August 29
Texas Sculpts V
Five years. 24 Texas artists. One unique exhibition.
A juried exhibition of emerging and established Texas sculptors
Now celebrating its fifth anniversary, Texas Sculpts V marks a meaningful milestone for an exhibition unlike any other in our region. Dedicated exclusively to sculpture by Texas artists, the exhibition brings together emerging voices gaining momentum and established artists whose work has helped shape the sculptural landscape of the state for decades.
Carefully selected by a panel of collectors and arts professionals, Texas Sculpts V offers a rare opportunity to experience the range, ambition, material exploration, and creative force of contemporary sculpture in one cohesive, curated exhibition.
Over five years, Texas Sculpts has grown from a bold idea into a signature ArtCentre of Plano exhibition, one that celebrates artists, invites the public to engage with sculpture up close, and strengthens Plano’s place within the North Texas arts community.
Texas Sculpts V is made possible through the generous support of sponsors who believe in the power of art to inspire, challenge, and connect. If you or your business would like to support this one-of-a-kind exhibition, learn more about sponsorship opportunities.
You’re invited to the opening reception.
Come as you are, bring a friend or the whole family, and enjoy an evening surrounded by bold, inspiring sculpture. Many of the artists will be on hand, who are happy to talk about their work, share their process, or simply connect.
Texas Sculpts V Opening Reception
Saturday, July 11
4:00 p.m. - 6:00 p.m. at the ArtCentre
A free event, open to the public - Please join us!
Pull up a chair for our afternoon Lunch and Learn artist talks
Wednesday, August 5
Join us for our popular Lunch and Learn series, a casual midday conversations where you’ll hear directly from the artists about their work, their materials, and what inspires them to create.
You’re welcome to bring your lunch—or not. Whether you come with a sandwich or just your curiosity, all are invited to spend the lunch hour surrounded by art and conversation.
The event is free and open to the public. A $10 donation to the ArtCentre, in support of Texas Sculpts IV, is always appreciated.
Begin your weekend with our Friday evening artist panels
Friday, August 21
Join us for art, conversation, and a closer look at Texas Sculpts V. Our Friday evening artist panels will feature participating sculptors as they discuss their work, materials, creative process, and the ideas behind the pieces on view.
These informal conversations offer visitors a chance to hear directly from artists, ask questions, and experience the exhibition from a more personal perspective. Whether you are an artist, collector, student, or simply curious about sculpture, the panels are designed to be welcoming, engaging, and accessible.
Works pictured, top to bottom: Grace Atchison, Ceramic Weaving, ceramic, fabric, fabric stiffener, and thread, 29 x 29 x 10 in.; Capri Woss, Do You Want to Hang Out Sometime (With Me), crocheted copper wire, 72 x 36 x 5 in.; Taylor Campbell, Untitled [cornrows] Iteration III (Triptych), mixed media textile sculpture, 276 x 36 x 12 in.; Lisa & Larry Whiteley, White Flower, forged steel, quartz crystal, and mixed media paint, 12 x 14 x 28 in.; Hadi Asgharpour, Echoes of Dried Water, Plexiglass, wood, sensors, stepper motors, Arduino, and 3D-printed components, 72 x 24 x 48 in.; Cindy Avroch, Future Strength, Aqua Resin, 35 x 18 x 20 in.
Meet the sculptors shaping this year's exhbition
Texas Sculpts V brings together 24 sculptors representing some of the most compelling voices in Texas sculpture today. Individually, their work speaks to mastery of material, clarity of vision, and a deep commitment to craft. Together, they form a powerful survey of contemporary sculpture across the state, marking a milestone year for the exhibition and inviting collectors, curators, and art appreciators alike to experience what’s possible when concept and craftsmanship align.
Hadi Asgharpour
Dallas, Texas
My work explores the emotional weight of environmental loss through interactive installations grounded in personal memory. Growing up in Guilan, Iran, I witnessed firsthand the disappearance of rivers, forests, and marine life. These experiences drive my practice, which uses digital technology, sculpture, and sensor-based interaction to create poetic spaces that reflect on ecological grief and resilience. I often leave electronic components visible to emphasize the presence—and consequences—of human intervention. By engaging viewers physically and emotionally, I aim to foster awareness and reflection on the Anthropocene and the fragile relationships we hold with nature. My installations speak to those who understand displacement, memory, and environmental change—not just as distant issues, but as lived realities. Through this lens, my art becomes a gesture of mourning, care, and an invitation to imagine more sustainable futures.
Hadi Asgharpour is an interdisciplinary artist from Iran, based in Dallas, Texas. He holds an MFA in Art, Technology, and Emerging Communication and is currently pursuing a PhD in Visual and Performing Arts at the University of Texas at Dallas. His practice examines ecological crisis and the entangled relationship between humans and the natural environment, with a focus on sustainability, memory, and the Anthropocene. Working across interactive installation, sculpture, and digital media, he builds multisensory experiences that invite reflection on deforestation, water scarcity, pollution, and overfishing. By combining traditional materials with emerging technologies, his work offers poetic, participatory encounters that foster empathy and ecological awareness. His work has been exhibited internationally, including in Italy, Brazil, and the Netherlands, and has been shown in exhibitions at the Ulrich Museum of Art and the Amarillo Museum of Art.
Grace Atchison
Manvel, Texas
Grace Atchison is a multidisciplinary artist based in Houston, Texas. She will receive her bachelor's degree in 3D Studio Art with a teaching certification from Sam Houston State University in Fall 2026. Within her work, Atchison discusses women's rights, the social pressures and stereotypes women face, and the bonds that women create and share through their hardships. She expresses these ideas through ceramics, oil painting, woodwork, drawing, collage, embroidery, weaving, and mixed media. Her work has been displayed in the Student Art Association's Juried Show for the past 2 years at the Satellite Gallery in Huntsville, Texas. Her work was also featured in the Huntsville Item Newspaper in 2024. She was awarded the James and Carol McTee Roach Art Endowed Scholarship and the Smither Family Art Endowed Scholarship for the 2026-2027 academic year, as well as the Penland scholarship, the Distinguished Art Faculty Endowed Scholarship, and the Patrick E. Brown Scholarship in the 2025-2026 academic year.
Since the late 1800s, women have been fighting for their rights, and yet we still aren't equal. Our work is viewed as lesser than, and we must fight twice as hard to get the recognition we deserve, all while having to uphold the standards society has forced upon us. In my work, I depict the female experience and challenge the societal pressures and stereotypes that women face. I express these ideas through ceramics, oil painting, woodwork, drawing, collage, embroidery, weaving, and mixed media. My body of work features repeated elements of polka dots and the color pink, both of which have been associated with femininity, empowerment, and community-building through fashion throughout the decades. Also depicted in the exhibition are women's domestic techniques that have historically been regarded as craft, such as embroidery, weaving, and ceramics. I use these materials as an ode to the female artists before me and as a defiance of the terminology.
Elyssa Austerklein
Plano, Texas
As a Cuban American Jew, my art is strongly influenced by both tribal elements and high culture; the natural world and the created world. As a religious person, my art is consistently in dialogue with biblical images and ideas. As a woman, the feminine form and experience of motherhood interface with my work.
Elyssa Austerklein is a devoted spiritual person, artist, musician, educator, and rabbi expressing her creative flow through multiple artistic mediums, primarily acrylic painting and lost wax casting. She has participated in group exhibitions around the country since 1999. When teaching art-based courses, she focuses on meaning and process rather than achieving aesthetic excellence. She recently moved to Texas with her family.
Cindy Avroch
Dallas, Texas
Sisters of Strength is an evolving body of work that honors the layered resilience carried by women and girls across generations. Working primarily in figurative sculpture, I explore the quiet duality of vulnerability and power—how softness and strength coexist within the same body. Through forms wrapped in textured, protective surfaces, I examine the unseen armor women develop as they move through a world that both shapes and challenges them.
The protective layers in these works are not barriers, but acknowledgments. They symbolize lived experience: inequality, expectation, endurance, love, and survival. Even in youth, before hardship is fully understood, there exists an inherited resilience—a legacy passed from mother to daughter, woman to woman. That continuity is central to this collection.
Gesture and posture carry the emotional weight of each piece. A playful stance may hold unspoken fortitude; a maternal figure may embody both fierce protection and shared vulnerability. Surface texture becomes a language of growth and memory, suggesting strength built slowly over time. These tactile elements invite viewers to look closely and consider what is carried beneath the surface.
I am a contemporary sculptor whose work centers on themes of protection, identity, and collective experience. My practice bridges intimate narrative and broader social reflection, creating figures that feel grounded, enduring, and compassionate. Through scale, material, and presence, I aim to craft sculptures that offer recognition and affirmation.
Sisters of Strength is a tribute to the courage that often goes unseen and to the generations of women who continue to rise, protect, nurture, and persist.
Taylor Campbell
Northlake, Texas
Taylor S. Campbell is an interdisciplinary studio artist working with textile sculptures and site-specific installations focused on themes associated with identity and her upbringing as a Black American. Her work and her way of capturing history and the Black and African American community is influenced by Jordan Casteel, Amy Sherald, Malcolm Bailey, and her life experiences as a child growing up in Memphis.
Born in 1994 in Memphis, Tennessee, she holds two undergraduate degrees in Visual Arts and Studio Art with a focus on 3D design. Currently, Campbell is preparing to earn her Master of Arts in Art History from Savannah College of Art and Design in 2027.
I am an interdisciplinary studio artist passionate about re-imagining and educating others on African American and Black history through fine art in various mediums. I seek to highlight the beauty and uniqueness of being a Black American.
My latest work is an interdisciplinary study on cornrows and braids and their connection to slavery while fostering conversations about how they are represented and appreciated in modern times. The collection consists of various textile, site-specific sculptures. With meticulous attention to detail and a deep understanding of 3D techniques, I aim to create immersive and thought-provoking works that push the boundaries of contemporary art. Through my exploration of the intersection between art and history, I invite viewers to engage with their surroundings in a new and innovative way.
Scott Carter
Austin, Texas
I seek understanding of ideas through form. Specifically, the way light lands on a 3D object and how that can shape the viewer’s reaction. I originally studied photography to pursue this concept and now continue it while working in wood, concrete, glass, found objects, and metal. All are used in the pursuit of presenting a vision of clarity and beauty. I approach each work as a seeker of knowledge with the ultimate goal being a form that can represent what I see and feel inside.
Maureen Cole
Allen, Texas
No matter how I choose to create, I always begin with love: love of materials, love of the subject, love for the creative process, and the surprises that occur. Currently, I am collaging with torn and cut papers, which I call painting with paper. Some papers are textured and patterned, others thin tissue, text from vintage books, old family letters, sheet music, and corrugated board. Whatever works in the creative moment.
Being in the moment and simply reacting as I tear and glue allows me to work with a meditative mind. Sometimes, the process leads me more than the subject. Mistakes can happen and help a piece evolve. Primary adhesives are gloss, matte, and glazing mediums. These glues have unique effects on different papers. Sometimes the papers bleed and spread their colors. Sometimes the papers become translucent, allowing surfaces below to show through. The inclusion of paint and ink adds detail. Wood provides the foundation for most of my collages, although I have worked on paper, discarded windows, and old cupboard doors. I incorporate whatever materials work best.
In addition to my creative process, I am influenced by several artists: Van Gogh, for his application of color and texture; Gaudí and his playful expression of nature; Klimt’s use of pattern; and Eric Carle for his collages and storytelling. Life is filled with much magic and wonder. Children look at the world with fresh eyes, so I try to capture the world with new eyes. In the universe, it takes many harmonious parts to make a healthy whole, so in my collages many are brought together to create one cohesive piece of art.
I create with wonder and appreciation for the world. Love and playfulness are my ultimate goals.
Dale DuBord
Dallas, Texas
With little formal art education other than art appreciation and history, I took up sculpting after retirement from the business world. First as a time-filler hobby, it has evolved into a passionate pursuit of form complementing the natural lines of wood grain.
Working with wood sourced from fallen trees, primarily oak, pecan, and cedar elm, I create fluid female and heart forms. I utilize the natural wood grain patterns to complement and enhance the shape and lines of the sculpture.
Curtis Frederick
Rockwall, Texas
Art to me is a long process, a journey through materials and life. I don’t ever want to get stuck in one medium, concept, or style, but rather let the material be approached by what needs to be created.
As I grow older, creating for me has become more an emotional and spiritual process. I try to create through my own life experiences, not only by what I see, but what I feel. Inspirations, knowledge, and ideas change as my art evolves.
I believe some of my best work comes from the imperfections, unplanned events, and experimentation. I know that my future is unknown, and I like it that way. My goal is to continue to challenge myself, to think out of the box, and to bring my mark to the art world.
Gwynn Getto
Mesquite, Texas
I see my work as conversations. I want them to be catalysts for valuation and revaluation, to be triggers for awakening the subtle and not so subtle ideas that we’ve assimilated but neglected to process, and to expose those hidden influences to contemplation.
Basically a mixed media artist, I work in metal, wood, plastics, found objects, paper, fabric, and clay.
The cherries, at first small, white, and pearl-like, intimately representing innocence and vulnerability, entered my work in studies focused on the abuse of women and children. On the surface, we see in black and white what they represent, but between those extremes lies an infinite field of gray with its many nuances embedded in our daily perceptions of culture and reality.
Changing the size, the surface, and the materials has changed the conversation and broadened the response. There is more language in them than I could have imagined.
Gwynn Getto spent decades volunteering and promoting the arts in schools and community, plus nine years volunteering in the Gateway Gallery at the Dallas Museum of Art. She earned her BFA from the University of Colorado at Denver, her MFA from Southern Methodist University, and has studied art at Louisiana Tech University and the University of North Texas. Her work is represented in the Dallas College collection and the Meadows Museum collection at Southern Methodist University, Dallas, Texas. As a sculptor and mixed media artist, she continues to show her work locally and nationally.
Emmanuel Gillespie
Dallas, Texas
My sculpture extends my Joy series into three-dimensional form, focusing on the quiet moments that exist between action and rest. Cast in bronze at an intimate scale, the work depicts a young dancer in sweats, not in performance, but in pause. The figure occupies a moment of transition, where anticipation, ease, and self-awareness intersect.
Rather than emphasizing spectacle, I am drawn to the emotional resonance of the in-between: the breath before movement, the subtle shift of weight, the private confidence that precedes expression. The dancer’s casual attire grounds the sculpture in everyday life, while the use of bronze, traditionally associated with permanence and monumentality, elevates this fleeting moment into something enduring.
Emmanuel Gillespie, a visual artist with experience spanning painting and sculpture, was born and raised in Dallas, Texas. With a rich educational background, Gillespie’s work transcends mere artistic expression. Gillespie’s newly created Joy series expands upon his interests in humanity and existence. Gillespie received his BFA from the University of North Texas and later earned his Master of Art from Indiana University of Pennsylvania.
Currently a professor of art in Dallas, and working through 2D and 3D forms, Gillespie has completed several public art projects in Dallas. Some notable works include site-specific sculptures for the Bexar Street Corridor, the design for the DART bus station for the DART Green Line project, statue commissions of Ernie Banks for Booker T. Washington High School for the Performing and Visual Arts, and two 8-foot bronze statues for the Cedar Crest Golf Course in Southern Dallas of Walter Hagen and Dr. Charles Sifford. Gillespie utilizes his artistic practice as a conduit for community engagement.
Lisa Hamilton
Bedford, Texas
As an infant, I was placed in a hollow on the side of a hill under an old oak tree. The smells of the freshly dug earth, the sun dappling on my face, and the gentle rocking of the tree were my companions. Wind gusts rustled my hair, and leaves visited me while I gazed up and waved my arms in celebration. Acorns and bugs watched while the grasses danced and whispered me to sleep, leaving me kin to nature. This experience is expressed in my work through natural found objects and representational forms.
One afternoon, when I was twelve, I watched from my window as my neighbor welded. The arc of sparks was never-ending, beautiful, and mesmerizing. No matter how hard I tried, I could not see his project through the bursts of light. I had no idea those bright flashes were permanently burning small holes in the backs of my eyes. Instead of a tragedy, it was an unexpected gift which left me with companion spots that live where I look. These multiple void shapes appear in my work through texture, repeated forms, piercings, and movement.
My current work reflects the ritual of disassembling the strata of these remembered events. I break them into the relevant pieces, then like an offering, I add metalwork to honor their distinct beauty. This work speaks to the peace and solace of nature. They are a reflection of self through the lens of my life experiences. I am fascinated by the poetry of shadows, those voids left by encroaching lichen, crisscrossing tree branches, and the evidence of time.
Virginia Marsh
Richardson, Texas
Clay art is part of a language of touch as well as sight and the intellect, with a long and evolving story, as making and firing clay objects has spread from one person to another, and from one part of the world to another for at least 30,000 years.
Participating in this tradition becomes a complex dance with sets of shifting partners connecting past and present as much as the makers and users of the arts. These rich resources of ideas, form, and process bind us and make our lives more transparent to one another. I never tire of waiting for the surprises they reveal as they come from the fire.
Josh Niccolai-Belfi
Combine, Texas
This work is a continuation of my Feraza series, which extends into painting as well. “Feraza” means “scraps, fragments, or fractures” in the dialect of Vodo di Cadore, in the Dolomites of Northern Italy, home of my Belfi family. This piece makes use of my extensive metal fabrication experience, utilizing hand-formed segments to illustrate the topographical road map of aluminum alloy construction.
Josh Niccolai-Belfi is a local painter and sculptor native to the Bishop Arts District of Oak Cliff. His early art education included W.E. Greiner, Booker T. Washington HSPVA, and scholarships with the Meadows Museum at SMU. With a studio in the vibrant Tin District area of Dallas, he maintains a prolific and diverse body of work.
Lisa Nigro
San Antonio, Texas
Ranging from large outdoor installations to sculptures, map paintings, and ceramic assemblages, my eclectic approach to creating artwork often ignites one’s imagination with propane flame effects and interactivity. My working process invites collaboration; the end results carry the viewer out of the mundane trivialities of life into a space of reflection, amazement, and awe through the reinvention of mythical, historical, and iconic themes. My process is dedicated to up-cycling and repurposing objects. The style in which I create incorporates mold making, body casting, and bronze foundry techniques.
I was raised Catholic but rejected the church’s tenets by age seven. I found comfort not in church or in God’s hands, but in nature. Out in the woods and open fields of a small New England town, I constructed imaginary spaces for my friends and me to escape to. That creative expression of my youth can now be seen in the way I translate work into play while overseeing crew and creating installations today.
Yet, the feminine found within religious iconography in cultures worldwide intrigues me. My assemblages reflect these concepts as I expose woman’s experience through the old idiom of “served on a silver platter.” By juxtaposing ceramic hearts and body parts with silver bowls and goblets, I inform the viewer of notions regarding woman’s rights and “place” in society.
Born in 1962 in Milford, Connecticut, I studied sculpture, installation, and performance art at the University of Texas at Austin, where I received an MFA. My most notable works are Angler Maiden, a floating steel sculpture created while participating as Artist-in-Residence at Bosch Parade, which achieved Top 100 at CODAworx in 2025; Phoenix Rising, a steel and found object sculptural installation with flame effects and an interactive component; and Draka the Dragon, a mobile fire-breathing art car that participated in Houston Art Car Parade, Burning Man, and other festivals nationwide.
“Celebrating five years of Texas Sculpts is a meaningful milestone for the ArtCentre of Plano and for the artists, sponsors, and visitors who have helped this exhibition grow. What began as a bold idea has become a signature exhibition that brings outstanding Texas sculpture to our community in a way that is accessible, engaging, and truly unique.”
Fari Rahimi
Denton, Texas
I am a contemporary sculptor using a range of media and technology. I’ve worked largely with glass and steel, but also have included processes like 3D printing and unexpected materials like hospital supplies in my pieces. The elemental significance of material drives my work.
For instance, steel and glass represent the conflicting themes of oppression and empowerment from my feminist perspective. The contrast of these materials elicits opposing feelings of power and fragility from the viewer. As a minimalist sculpture concerning simplicity and sense of balance, I draw the viewers to engage in a kinesthetic conversation with each piece and gain a direct understanding of the power of adaptation.
Valery Salazar
Princeton, Texas
Valery Salazar Jimenez is an emerging multidisciplinary artist exploring emotional depth, identity, and resilience. She earned an Associate of Arts degree from Collin College, and her work was selected for exhibition in the D3 and Open Exhibitions at the Art Gallery at Collin College.
Her work reflects a strong interest in different artistic mediums and concepts, shaped by personal experiences, ambition, and continuous growth. Through experimentation and exploration, she develops pieces that represent identity, transformation, and self-discovery.
Submerged Mind explores the experience of standing at the intersection of ambition, identity, and possibility. The octopus represents the multiple directions my life pulls me toward: career growth, financial stability, family, travel, marriage, creativity, and constant exploration. I have pursued different careers and hobbies that I continue to expand, each shaping a different part of who I am.
The tentacles extend outward as expressions of curiosity and desire, sometimes creating tension through choice and uncertainty. Yet they remain connected to a single core, suggesting that rather than competing, these interests form a unified identity.
Cast in bronze, the work transforms this fluid state of exploration into permanence. What feels temporary or experimental becomes rooted, lasting, and intentional, ultimately guiding me toward my true self.
Philip Samson
Shady Shores, Texas
Phil Samson is a Denton, Texas-based artist who creates visual art to provoke innovation and intellectual exploration. His art is influenced by science, technology, engineering, mathematics, and medical research. Phil interacts with research scientists at a Carnegie Tier 1 research university where he explores concepts that can be further stimulated by linking creative, abstract, and analytical thinking.
He also creates experiences for these researchers where they create art influenced by their research. In 2022, Phil was the recipient of the International Sculpture Center’s Outstanding Student Achievement in Contemporary Sculpture Award. Phil received his Master of Fine Arts degree from the University of North Texas in 2022.
Jordan Stanford
Eldorado, Texas
My work explores small-town America through the lens of lived experiences. Growing up in a place seemingly untouched by modernity, I find inspiration in less photogenic people and places of rural America. There is a unique beauty in the gritty dialect and visual language of these places: poorly hand-painted business signs, empty storefronts, and seedy dive bars.
I use humor in my work to prevent it from becoming too serious or political. My illustrations include scenes from daily life in a rural area. I take a naive, stylized approach to accomplish a slightly abstracted, somewhat abrasive, anti-aesthetic drawing style for these pieces, as I don’t idealize the scenes I present.
I create art that showcases the playful side of small towns. I agree with the negative connotations surrounding rural communities. However, these dust-covered places still hold great charm for me. Things never change in small-town America; time is only measured by new wrinkles and weathering buildings.
Spencer Stuart
Kemp, Texas
Born in the Midwest, raised in Europe, and returned to the United States carrying an indelible impression made during visits to European museums, Spencer Stuart worked in the private sector, traveled the world, and settled down on the north end of an East Texas lake.
Now, the ideas which have been gestating for many years are able to be translated into three dimensions. Mr. Stuart’s body of work includes functional mugs, steins, platters, and fanciful cigar ashtrays, along with collections of large ceramic sculptures and vases based on themes paying homage to Native and Mesoamerica, emerging life forms, and the Texas weather. These new ceramic sculptures often incorporate hard-edged geometric shapes which contrast with the soft plasticity of the clay.
Spencer Stuart holds a Bachelor of Fine Arts degree from the University of Connecticut, with a major in sculpture and a minor in photography. He is an award-winning photographer and served as campus newspaper photography head. His sculptural media includes welding, resin casting, wood and stone carving, and ceramics.
He was assistant to and apprenticed with Raymond Hitchcock, Plastic Arts Department Head, who created large sculptures using the resin casting method. Stuart has constructed large, welded steel sculptures installed outdoors in an office park in Connecticut. He is a member of Clay Nation, a ceramic collective in Kemp, Texas, and is represented by the 211 Gallery in Athens, Texas, and Art House Trinidad in Trinidad, Texas.
Elise Techentine
Granbury, Texas
My recent assemblage pieces explore the concept of seeking balance in various aspects of life. The recurring black and white elements are specific to each piece. This color combination is evocative of both presence and absence. Though my artworks are mostly autobiographical, my hope is they will resonate on some level with the viewer.
As a lifelong dreamer, maker, and mindful hoarder, I have focused the last 20+ years on building assemblage with found objects. As an artist, I am always curious to learn new techniques to manipulate materials, and I often incorporate multiple disciplines in many of my projects.
In 2010, I entered my first juried show, and since that time I have participated in many shows in Texas, as well as shows in New Mexico, South Carolina, and Washington, DC.
Lisa & Larry Whiteley
Irving, Texas
Larry and Lisa Whiteley are a Texas-based collaborative artist team whose sculptural work bridges industrial craft and painterly expression. Working together through Whiteley Metal Works LLC, they create forged metal sculptures that balance strength, movement, and emotional presence.
Larry Whiteley is a sculptor and master fabricator who works across a multitude of metals, shaping forms with both contemporary techniques and restored early 20th-century machinery. His practice honors material integrity and process, allowing hammer marks, heat shifts, and structural decisions to remain visible as part of the final composition. Scale and gesture are central to his work, often pushing metal into unexpectedly organic forms that suggest growth, expansion, and vitality.
Lisa Whiteley is a multidisciplinary artist whose background in painting and surface design informs her sculptural collaborations. Drawing inspiration from natural forms, layered histories, and global design influences, she approaches surface as a living element. Through hand-applied paint, mineral tones, and subtle textural variation, she softens and deepens industrial structures, creating visual tension between permanence and fragility.
Together, their collaborative works merge physical weight with expressive nuance. Steel becomes botanical. Industrial material becomes intimate. Their sculptures reflect a shared commitment to craft, partnership, and the belief that strength and tenderness can coexist within a single form.
Rooted in Texas yet influenced by travel, architecture, and cross-cultural pattern traditions, the Whiteleys’ work speaks to resilience, transformation, and the beauty found in process.
Nicholas Wood
Arlington, Texas
With a background as a painter prior to my involvement in sculptural media, my work frequently manifests itself in hybrid forms with its relationship to painting, drawing, and sculpture. I have always been intrigued by the dimensional, spatially interactive, and material nature of sculptural form, yet also drawn to the frontal, pictorial quality which painting’s surfaces frequently yield.
These 3D works reflect my interests in forms which employ modulation, repetition, progression, memory, erasure, and reference. They use the wall as support to project their dimension, their “vertical frontality,” as well as the consequent shadows, integral to complete them.
While the initial choices of imagery are conceptually established, all the works are open enough to pose a variety of interpretations. This variety presents multiple layers and possible readings and, for me, floats in a state that, like abstraction itself, esteems ambiguity and discovery.
Capri Woss
Dallas, Texas
As an artist and biologist, my work contends with the human form and the memories that shape it. I work with themes from my lived experience, generating a visual and literal tapestry of interconnected threads, emulating the intrinsic connectivity of mind and body. I am predominantly a painter, but my sculptural practice consists of crocheted copper wire forms.
These forms begin as a set of copper wire squares that are sewn together and placed around me to be squished by my peers. Touch, sensation, memory, and vulnerability are all key themes in my work. I have been looking at the invisible labor that is required to maintain an interpersonal connection, hand-crocheting wired panels wherever I go for the ultimate presentation of a body, expressed as a silhouette.
To remember someone is a difficult task, and to be remembered is even harder. Despite the work one might put in to maintain a friendship, the other party may only remember vague traces of them, regarding them as a hollow silhouette rather than as a breathing, loving entity.
Juried by Jeanne Chvosta
Director of Collections Management and Conservation
The Rachofsky Collection at The Warehouse
Dallas, Texas
Texas Sculpts V is shaped by the perspective of Jeanne Chvosta, whose career reflects decades of experience across galleries, museums, nonprofit arts organizations, artist support initiatives, and private collections.
With a background that includes the Dallas Museum of Art, the Meadows Museum, Barry Whistler Gallery, and her current role as Director of Collections Management and Conservation for The Rachofsky Collection at The Warehouse, Jeanne brings a thoughtful, deeply informed eye to the exhibition.
Her broad knowledge of artists, institutions, materials, and the larger arts ecosystem gives Texas Sculpts V a strong curatorial foundation and reinforces the importance of presenting sculpture with care, context, and purpose.
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Above: Kelly Steller Hrad, Tree of Life, 3-dimensional oil on canvas, 36 x 24 inches; Kavita Patil-Doddamane, Divinity, acrylic on canvas - texture and drip technique, 24 x 36 inches; Marie Renfro, Sping-a-Bloom, collage, 15 x 15 inches, framed.